Review: Superman '78 #5

This issue picks up with the excision of Metropolis by Brainiac.  In the bottle city of Kandor, Jor-El re-attunes Luthor's device so that Superman can return to his normal size.  Superman says good bye to his parents as Brainiac begins the miniaturization of Metropolis. (On page 6, could that be a cameo of Richard Pryor's Gus Gorman from Superman III?) Luthor takes off in a balloon, and Superman returns to stop Brainiac's machine.  The rest of the issue is a fight scene between Superman and Brainiac and his robots, ending on a cliffhanger.

What can I say that I haven't already said in my reviews of the previous issues.  This creative team gets it, and excels.  This issue earns another A.  Looks like it'll be a sweep of A's for this mini-series.  We'll find out with the final issue next time.

review: SPIDER-MAN NO WAY HOME

 

Even though it was DC Comics that essentially made the concept of a multiverse a corner stone of superhero folk lore, the MCU beats them to the punch cinematicly before The Flash next year, with Spider-Man: No Way Home directed by Jon Watts and starring Tom Holland and Benedict Cumberbatch.

Picking up right where Far From Home left off, Peter and his friends deal with the world knowing Spider-Man's true identity.  With him being looked at by the public as both a celebrity and a menace, he turns to Dr. Strange to cast a spell to make everyone forget his secret identity. As Strange composes the spell, Peter keeps chiming in with exceptions he wants added to the spell, causing Strange to abandon the now corrupted spell. However, a ripple effect causes people from other parallel earths who know Spider-Man's true identity in their own timelines, to end up on the main MCU earth.  Showing up are villains Dr. Octopus, Green Goblin, Electro, Sandman, and the Lizard to cause chaos as they try to destroy this earth's Spider-Man. Peter and Strange hatch a plan to send them back to their own earths, but Peter has second thoughts when he learns he may be sending them to their deaths. To stall for time, he traps Strange in a mirror dimension, and works to figure out a way to spare the villains' lives.  The rogues betray Peter, and Aunt May dies as a consequence. Meanwhile, Ned Leeds discovers he can open portals, and uses that to try to find the grief stricken Peter, only to end up finding the two Parkers from the alternate timelines. Ultimately the three Peter Parkers bond like brothers, and unite to cure the villains of their powers which would, in theory, spare them from death when the spell casts them back to their own worlds. But this brings up all kind of other questions, like the events from the previous franchises are now changed?  Also, a complication caused by Green Goblin causes the multiverse to start to tear, and the only way to stop it is for Strange to add a spell that wipes Peter Parker out of everyone's memory.  Now totally forgotten by everyone who ever knew him, with his whole history seemingly erased from the main MCU timeline, Parker starts his life over, no longer with a Stark Industries tech-suit, but a home made costume.

The first half of the movie plays like a Marvel Team Up of Spider-Man and Dr. Strange, but the second half, when Strange is mostly absent due to being in the mirror dimension, is when the movie does a great job of incorporating the previous Tobey Maguire and Andrew Garfield franchises, folding them (and presumably all pre-MCU Marvel movies, like The Fantastic Four and X-Men franchises) into it's multiverse.  It's the villains from the older movies, all played by the original actors, who really get the most screen time, while Maguire and Garfield join in only for the last act.  But once they are there, the brotherly bond between the 3 Spider-Men is handled very well. Maguire, who has physically aged the most, comes off as the elder statesman (even a gag referring to him having a bad back, slyly referencing not only his age, but the controversy that almost had him prematurely leave the Spider-Man role).  Garfield plays like the middle brother with self-esteem issues (again slyly referencing that his movies were the least liked by fans), and ironically plays the role better here than he did in his own two Amazing Spider-Man movies. I dare say he almost outshines Maguire.  I wonder if there were efforts to do a scene with Nicholas Hammond. 

One complaint I have, is that if you read my reviews of the previous two MCU Spider-Man movies, Betty Brant, played by Angourie Rice, is my favorite character, but she only has a small cameo in this one.  As with Far From Home, there was a little too much Zendaya, but at least this one didn't have that Disney Channel sit-com tone.  There is a cameo by Matt Murdoch (Daredevil) as Peter's lawyer, and as established in the previous movie's last scene, J.K. Simmons returns as the MCU J. Jonah Jameson, who is more of a Keith Olbermann/Don Lemon type.  However, he does not reprise the version from the Maguire films.

All in all, this movie is a notch above Far From Home, and really excels in the nostalgia factor for the previous franchises, but as a DC guy, it is kind of frustrating to see the MCU again pull the rug from under DC. And don't even get me started on how DC squandered its Crisis on Infinite Earths IP as a poorly made, Greg Berlanti produced TV project.

Michael Nesmith Tribute

With the tragic passing of Mike Nesmith, I thought I would share some of my favorite tracks and give some thoughts. I will not duplicate any of the songs I listed on my Best Monkees Songs You've Never Heard post, even though every one of the songs on that list that was either written or sung by Mike deserves to be here.

Different Drum  Of course we have to start with this song.  There have been several versions, including the first, 1966 folksy dirge version by the Greenbrair Boys, the 1967 pop classic by Linda Ronstadt and the Stone Poneys, and Mike's own mostly acoustic 1972 version.  However, my favorite version is the earlier, originally unreleased alternate take from 1970, with a Western Swing beat and some great steel guitar work from the amazing Red Rhodes.  This is my go-to version by Mike, and it rivals the Stone Poneys' version.

Get Out of My Life Woman  A previously unreleased funky, bluesy track from Mike's pre-Monkees "Michael Blessing" Colpix days.

Sunny Girlfriend  A Monkees song from the Headquarters album. A fun tune that at first seems like a typical teenage love song about a great girl, but the last line which says "she doesn't really care" changes the whole perspective to unrequited love. This history behind this song is The Monkees, in their earliest concerts, performed She's So Far Out, She's In, with Mike on lead vocals, and it was the first song they attempted at the Headquarters recording sessions. Coming to light recently is that Mike also recorded an unreleased version in 1965/66 as part of his pre-Monkees "Michael Blessing" Colpix deal. At some point, Mike decided to write his own version of the concept, while copying the intro to the Rolling Stones' It's All Over Now, and thus was created Sunny Girlfriend.

You Told Me  The lead track to Headquarters with a count in that was meant to parody the Beatles' Tax Man, and has what Peter Tork described as the most Rock 'n Roll use of a banjo.

Good Clean Fun  A song Mike wrote when a record exec told him he needs to write more songs that are good clean fun. This song has become something of an anthem for the final years of the Mike and Micky concerts.

Naked Persimmon  From The Monkees' 1969 TV Special, this song cleverly recaps the whole situation with Don Kirshner. The accompanying video is also great ("Wanted for Fraud").

Little Red Rider  Mike comes into his own post-Monkees with his First National Band.

Propinquity  Love song, Nesmith style.  Great lyric is "I've seen you make a look of love from just an icy stare".

I Fall To Pieces  Mike's cover of a Patsy Cline classic.

Thanx For The Ride  Apparently, this song was Mike's formal statement saying goodbye to his band mates in The Monkees. But if you listen to the lyrics, it works just as well as his final goodbye to all of us.

Hollywood  Similarly, this song was his lament on the California show biz culture he experienced while being a Monkee.

Some of Shelly's Blues  Other than Different Drum, this was perhaps his most covered song, with versions by Linda Ronstadt, The Nitty Gritty Dirt Band, The Continental Drifters and Earl Scruggs.

Wax Minute  Perhaps my favorite Mike song from his solo years.  Although it was written by Richard Stekol, it is very much in a Mike Nesmith style.

Mama Rocker  This Chuck Berry influenced song apparently was about Marrianne Faithful. 

I'll Go Somewhere and Cry  This is perhaps the most obscure song on the list.  It is actually the very first song Mike wrote to be professionally recorded and released (1964). The Elvis Presley style vocals are by Denny Ezba, with Mike on guitar and doing the whistling. This catchy tune is highlighted by the contrast of lyrics expressing a heartbroken guy wanting to go somewhere and cry juxtaposed with rather happy whistling. Speaking of Elvis, if there was only one question I could have asked Mike, it would have been "When you were on RCA Records in the early 1970s, being produced by Felton Jarvis, who was also Elvis' producer at the time, were there any efforts made to submit songs to Elvis?"  I think an Elvis-Nez collaboration in the  '70s would have been amazing.

Rio  The song that Mike essentially invented the modern music video for. Perhaps his most famous and popular solo track.

Magic  Another early trailblazing music video.  The retro 1950s sound makes it a favorite of mine.

Cruisin'  The third in the trilogy of groundbreaking music videos.  By the way, contrary to popular belief, that is not a young Hulk Hogan in the video, but a different pro-wrestler named Steve Strong.

Yellow Butterfly  A kind of dreamy song from his 1992 "comeback" album  ...tropical campfires...

Laugh Kills Lonesome  A song that celebrates the classic singing cowboys of the golden age of movies.

I Know What I Know  From the Monkees album Good Times. The lyrics and melody transcends rock 'n roll or pop music and goes to a whole new level, right up there with Cole Porter or Irving Berlin.

Michael Nesmith, R.I.P

Extremely sad news. Michael Nesmith has passed away at the age of 78. Mike has had some serious health issues in recent years.  During the 2018 Monkees tour, he had a serious heart problem.  During the concerts he needed to go back stage and take oxygen.  The tour was cut short so he could have quadruple bypass heart surgery. Although he seemed to bounce back from it initially, his health started to deteriorate slowly.  He did not let this stop him, though, as he heroically continued to tour with Micky Dolenz, to entertain his fans, until the very end.  

From Mike Nesmith's Videoranch website:
With Infinite Love we announce that Michael Nesmith has passed away this morning in his home, surrounded by family, peacefully and of natural causes.
We ask that you respect our privacy at this time and we thank you for the love and light that all of you have shown him and us.

- The Nesmith Family

Micky Dolenz issued a statement:
I’m heartbroken.
I’ve lost a dear friend and partner.
I’m so grateful that we could spend the last couple of months together doing what we loved best – singing, laughing, and doing shtick.
I’ll miss it all so much.  Especially the shtick.
Rest in peace, Nez.
All my love,
Micky


 

 

 

 

I can only offer up my prayers for Mike and his family.  You will be missed greatly, Pap Nez.

Eternal Rest grant unto him O Lord,
Let perpetual light shine upon him,
May he rest in peace.

Review: Batman '89 #4

This issue opens with a march where Drake Winston attacks the police in ways that are all too trendy. Then we cut to Bruce in the Batcave, where he set up the giant penny, and he gets some microfilm from Alfred that will explain Drake's history.  At the hospital, Dent, completely out of his mind with a split personality, escapes. Alfred picks up Drake to take to the Manor to meet with Bruce, as he reads the microfilm that Drake's ancestors started a car company that was then taken over by Bruce's ancestors.  When Drake gets to the Manor, he and Bruce have a very long conversion that ends with Drake knowing Bruce is Batman, Bruce knowing Drake is the poncho costumed vigilante, and writer Sam Hamm recycles the "Alfred with a gun" bit from the first draft of his Batman script (although now changed to a taser).  Selina shows up at Police HQ posing as a Shreck's Department Store geek squad tech to get into Barbara Gordon's computer.  Dent finds his way into an abandoned subway tunnel, where one side is destroyed and the other side is pristine. He decides to make this his hide out. Back at Wayne Manor, Bruce leads Drake into the Batcave and a partnership is born.

In the first two issues of Batman '89 not much happened other than setting up characters. Then last issue and this issue are too crammed with plot development. This series is paced very poorly. Then there is the continued pre-occupation with being "woke" as the top priority for this series.  It continues to be an unpleasant read.  This issue earns a C-.

Review: Superman '78 #4

This issue opens with a brief exposition on Brainiac's past, then cuts right to Jor-El passing the leadership reins to Kal-El.  But Kal feels completely out of place, and decides he needs to find a way to get back to Earth.  Meanwhile Luthor, with Lois, are able to place a really long distance "phone call" to Superman, thanks to the little receiver he planted on him.  Brainiac notices the transmission, and heads back to Earth to confront Luthor.  Jor-El also notices the transmission, and says that this is the missing piece of technology he needs that could free Kal-El from the bottle city.  However Brainiac has begun to levitate the entire city of Metropolis.

Once again, Robert Vendetti turns in a great script that captures the magic of the movies, and delivers a lot of fun character asides, especially for Gene Hackman's version of Luthor.  Wilfredo Torres' art seems to get better with each issue. This issue earns yet another A.

Review: Superman '78 #3

This issue picks up right where the last issue left off, with Brainiac's robots accepting Superman's surrender. The citizens of Metropolis attempt to defend Superman, but he reasons with them not to invite danger. Superman hears Lois' heart racing, and bids her farewell.  Luthor congratulates Brainiac and pats Superman on the the back (perhaps slipping him something to help him escape later?).  On Brainiac's ship, Superman sees a collection of shrunken civilizations in bottles, including Thanagar with a cameo by Hawkman and Hawkgirl.  Brainiac shrinks Superman and he find himself face to face with his very much alive parents in Krypton's bottle.  Back in Metropolis, Lois writes the article of Superman leaving earth, and there is an Easter Egg of Bruce Wayne returning to Gotham and a mysterious Bat-Man terrorizing Gotham.  However, the magazine cover with Bruce looks nothing like Michael Keaton.  In the bottle city of Kandor, Kal-El hangs up his Superman costume and dons traditional Kryponian garb, and speaks with his mother, telling her- via Superman The Movie flashbacks- how he was raised by the Kents.  Then she tells him how Brainiac captured and shrunk Kandor just after they launched Kal-El's rocket.  Jor-El asks Kal-El to assume the leadership role he has held, and Kal-El agrees.  Back in Metropolis, Lois receives a message that someone knows where Superman is.  She finds out it is Luthor (that pat on the back must have been to plant a super-GPS), and Luthor is going to bring Superman back.

Once again, writer Robert Venditti and artist Wilfredo Torres deliver.  One can imagine the Salkinds delivering this movie with the return of Marlon Brando as Jor-El. Now, having Jor-El and Lara surviving Krypton's explosion messes with the comic book legend, but again, I can definitely see the Salkinds doing something like this to get Brando back for another film, had they had the opportunity.  Issue 3 keeps up the high standard of this series, and earns another A.

Review: Batman '89 #3

We are at the mid-point of Batman '89, and it's not looking like things will get better.  The story opens with Dent carrying an unconscious Drake out of the burning building. Subsequently the media treats him like a hero, as he contemplates his gubernatorial election run.  Time jump one year later.  Dent is governor and Barbara Gordon is police commissioner. Barbara comes in with the info that Bruce Wayne has been funding the Batman project, who is a small army of mercenaries wearing the costume. But then Dent gets confused and starts to black out.  

We see it is not one year later, but still at the scene of the fire. Dent has been hallucinating. He is pulled out of the fire by Bruce and Drake. As Dent regains consciousness, the spectators gasp in horror as the left side of his face is burned down to the muscles and tendons. Drake reveals he was on the roof feeding his pet birds when the fire broke out, and thinks he saw the arsonists.  Bruce wonders if Drake also saw him with Catwoman.  Dent is rushed to the hospital.  Reporters start hounding Bruce, who does not want to be photographed.  Harvey Bullock shows up and starts questioning Bruce about the fire, but Drake responds he saw the arsonists. Another officer replies they found the suspects in a dumpster (courtesy of Catwoman).  

The press continues to hound Bruce as a hero, as Dent survives the night.  The arson suspects are released on bail, and a nasty "no justice, no peace" mentality starts among the Burnside area.  Meanwhile Bruce offers to fund Dent's reconstruction surgery, while Dent, in his hospital bed, starts to develop a split personality via more hallucinations. When he wakes, he asks Barbara for his coin, and he scratches up one side.  Later, Batman meets Catwoman, hoping to start a romance, but Catwoman gives him a woke lecture while admitting she's seeing a shrink.  Batman wonders if it is Harleen Quinzel. They are interrupted by antifa-like firebombings in the neighborhood.  In his hospital room, watching the news coverage of the riots, Dent flips his coin.  It lands scarred side up. 

As with the previous issues, Dent is the main character, while Batman plays a supporting role. This issue has more plot advancement than issues one and two, but again, Sam Hamm is infusing this story with topical woke-ism. It almost seems like he is using this mini-series as an audition to get hired by Greg Berlanti as a scriptwriter for the DC television shows on the CW.  Yeah, that's the level this comic book is sinking to. In my review of the first issue, I mentioned how years...decades... of anticipation have built up for Sam Hamm to write Batman again.  But after all this time, all this waiting, if this is the best Hamm can come up with- Greg Berlanti type scripts- then I regretfully have to retract my statement from my review of the first issue where I say I would like to see Hamm become the regular writer on the main Batman title.  On the other side of the coin, Joe Quinones is still turning in good artwork. This issue gets a C+, bumped up slightly for more plot advancement, and Bruce given a little more to do, even if he's still in the back seat of the narrative.

Review: Superman '78 #2

This issue picks up with Luthor, fresh out of jail, trying to get a job at Kord Industries, only to be offered a job in the cafeteria. Crestfallen and grumbling (can just imagine Gene Hackman's voice), he returns to his small, dumpy apartment, where Superman is waiting for him. He asks Luthor to help him with the disembodied head of Brainiac's robot scout. Back at the Planet bullpen, Clark tries to ask Lois out, only to be brushed off.  He "overhears" that there is a signal coming from deep space.  Back at Luthor's laboratory, he is able to reactivate the robot scout to receive a message that Brainiac has arrived.  Brainiac sends out dozens of his robots to capture Superman.  He threatens to obliterate humanity in order to cage Superman.  Just as Luthor arrives at the scene, Superman surrenders to Brainiac to spare humanity.

As with the previous issue, the script by Robert Venditti, is excellent, and continues to capture the classic Superman film series tone perfectly. Wilfordo Torres turns in very good artwork, if slightly on the cartoony side. It's interesting to see how polar opposite Superman '78 and Batman '89 are from each other, with Superman '78, so far, getting everything right, and Batman '89 getting everything wrong.  This issues earns another A.

Review: Batman '89 #2

Once again, the main focus of issue 2 is on Harvey Dent.  The story opens with a task force trying to bring in Batman, but the guy who was stealing baby food for his kid ends up getting killed. Dent and Barbara play with a batarang and then Dent gives a political speech at his old neighborhood, Burnside.  We are introduced to Drake Winston (the role Marlon Wayans supposedly would have played in Batman Returns, although in that script he was only referred to as "The Kid"). He stops a robbery dressed in a weird poncho-like costume, revealing he was the costumed figure at the end of last issue. There is a word play on robbin'...Robin.  Racked over guilt about what happened earlier, Bruce offers to give every kid in Burnside free education. The garage where Drake works is set on fire by the robbers he stopped earlier.  Bruce (in a ski mask) heads that way but is intercepted by the return of Catwoman. Dent, meanwhile goes into the burning garage to save Drake, only to be knocked unconscious. 

Joe Quinones' art keeps the quality from the previous issue: well done if somewhat streamlined, with somewhat vague likenesses of the actors. It is curious that much of the unofficial, personal art he has posted regarding the Batman movies over the last several years looks much more detailed with pin-point likenesses of the actors. It seems like Sam Hamm continues to be more influenced by Daniel Waters' Batman Returns script than his own 1989 script. He is also making the same mistakes DC made with their Batman '66 comics, by abandoning what made it what it was, and trying to graft elements of modern DC continuity onto it. In the case of Batman '89, we are introduced to Dr. Harleen Quinzel.  Unfortunately we also get a lot of the current political climate grafted onto the story.  Sorry, but I'm not a fan of this approach. When I read a comic that is supposed to embellish and follow the spirit of the Michael Keaton Batman movies, the last thing I want is preaching about political and social issues that are constantly on the news in 2021.  I want to get lost in that timeless movie world, not be hammered by Hamm-fisted opinions and commentary about 2021 topical sociopolitical issues.  Batman '89 is quickly becoming a huge disappointment. This issue gets a C-.

Review: The Robonic Stooges #2

For the first time ever, American Mythology has published an issue #2 of a Three Stooges comic. The Robonic Stooges #2, like the first issue, features two stories and a couple text pieces. The first story, written by S.A. Check, is another story taking inspiration from Marvel Comics.  What, no love for DC?  In a Fantastic Four inspired tale, our heroes encounter a giant mole man who bears a slight resemblance to Shemp.  As with the previous issue, the art by Jorge Pacheco, has a distinctive Mad Magazine/Sergio Aragonés riff.

The second story, written by Todd Livingston, deals with the boys taking a vacation on a Fantasy Island-esque island, and, hold on to your grouses, attempt to make Larry a romantic leading man by giving him a love interest, perhaps inspired by his leading man turn in the boys' first Columbia short Woman Haters.  The art by Diego Tapie mimics the art from the later Dell comics.  After the text pieces and a misplaced "sneak preview" of Three Stooges Thru the Ages, which was published ages ago, there is an announcement there will be an issue #3 later this Fall. It looks like the comic book may last longer than the original cartoon series did.

Review: Superman '78 #1

The first issue of Superman '78 hits the bullseye. The script, by Robert Vendetti, reads like a comic book adaptation of an unreleased Christopher Reeve Superman movie.  He hits all the right notes, and gets the tone perfect. The art by Wilfredo Torres, has an Alex Toth quality to it, yet he still captures the actors' likenesses to a tee. That makes it more confusing why Batman '89 had to be more vague with the likenesses. The story opens on a flashback to Krypton's destruction observed by Brainiac. From there we are reintroduced to Richard Donner's version of Metropolis, where Brainiac sends a robot to scout the planet in an action sequence that undoubtedly would not have been able to be done justice on film in the 1970s. 

I hate to compare the first issues of  Superman '78 to Batman '89, but in many ways the Superman issue gets things right where the Batman issue stumbled. Superman '78 #1 was a very fun and entertaining read, and could easily be envisioned as an installment of the Christopher Reeve Superman movie franchise.  This issue earns an A.

Review: Batman '89 #1

Batman '89 #1.  Written by the 1989 film's writer Sam Hamm, with art by Joe Quinones. Something I have been waiting for.  But did the anticipation drive up expectations so that reading the actual comic book falls short?

The first part of the issue is essentially a set up to get the reader back into the Batman '89 mindset.  Except it quickly becomes obvious this is not really Batman 1989, i.e. a bridge between Batman and Batman Returns.  No this is more like Batman '94, set some time after Batman Returns.  And in a lot of ways, this issue seems to have a lot more in common in tone and character portrayals with the Daniel Waters penned Returns than with Sam Hamm's own 1989 script.  

Harvey Dent is the main character of this issue, and we open on his marriage proposal to Barbara Gordon.  Wait... what?  Yep, you read that right. Now, I'm not much of a Barbara Gordon fan.  It seems like whenever she pops up in a franchise, things go down hill.  The 1960s Batman TV Series. Batman The Animated Series. Batman & Robin (although technically that was "Barbara Wilson").  So to see her right off the bat in this comic... eh.  Harvey's fixation of a double headed coin, not referenced at all in the 1989 movie, is heavily explored here, and then we get a great Batman action sequence that involves a giant penny. Harvey visits Bruce at Wayne Manor to try to get him to join with him to rid Gotham of Batman, and force Commissioner Gordon out of the police force.  This seems vaguely like a rehash of the Max Schreck story line from Batman Returns.  We get more background, sort of an origin, on Harvey.  Then Batman attempts to stop a robber who stole diapers and baby food for his kid, and Batman is ambushed by another costumed figure who is obviously going to turn out to be either Barbara Gordon or Drake Winston.

Joe Quinones' art is excellent, but only Billy Dee Williams' likeness is truly captured.  All the other characters, like Bruce, Jim Gordon, and Alfred, have a more vagueness to them. Bruce, in particular, is far too gray. Perhaps DC couldn't get clearance to use the actors' likenesses... but do they need permission if they own the original material?  Gray area, I know.  Quinones puts in a lot of Easter egg callbacks to Prince's Bat Dance video.

Sam Hamm's script is, frankly, a far cry from his 1989 movie script, or his unused script for Batman II, but it is still miles better than most of the Batman comic book scripts of the past decade or so, and after this six-issue miniseries ends, I'd love to see Hamm and Quinones become the regular creative team on either Batman or Detective.  However, making Barbara Gordon such a major character so quickly in, and the rumors the comic will utilize the Batman Returns concept of Marlon Wayans as Drake Winston/The Kid, a choice that was widely and universally panned, instead of the actual 1989 concept of Ricky Addison Reed as Dick Grayson/Robin, factors into the answer to the question I asked at the beginning of this review. Does this issue fall short of the anticipation and expectations?  In a word, yes. This issue earns a C+.

Review: The Robonic Stooges #1

American Mythology's The Robonic Stooges recreates the classic Saturday Morning cartoon from the late 1970s, created and developed by comic book talent, latter day Stooges manager/agent/producer, and Moe Howard's son-in-law Norman Maurer, for Hanna-Barbara Productions.  The cartoon was a classic for the kids of the late 1970s, where the Stooges mix with superheroes, robots and bionics... hence the "robonic".  With the real Stooges deceased, the voice actors that were chosen were perfectly cast.  Paul Winchell, who starred in the Stooges clip feature film, Stop Look and Laugh, is excellent as Moe, Joe Baker does a fine Larry, and Frank Welker, who had been doing a Curly imitation for the title character of the Jaws inspired cartoon Jabberjaw, is pitch perfect as Curly. 

As for this comic book, the first story by S.A. Check and Phillip Murphy takes a subtle jab at the Marvel Cinematic Universe, with artwork that is very faithful to Maurer's original character designs.  The second story by Jordan Gershowitz and Jorge Pacheco has more of a vintage Mad Magazine flavor in both story and artwork. The issue concludes with some special feature articles of the history of the Robonic Stooges and interviews with this issue's creative teams.  Another good and fun outing from American Mythology, and even though they usually only do one-shot specials with the Stooges, I wouldn't mind seeing an actual issue #2 of The Robonic Stooges.

Shazam movie sequel news

There has been a flurry of activity and casting announcements over the last couple weeks regarding both the Shazam! sequel and the long gestating Black Adam movie. (Shouldn't that be ShazAdam movie?)

The highlights are Lucy Liu and Helen Mirren nabbed roles as the evil daughters of Atlas in Shazam 2: Fury of the Gods, which presumably could possibly be a musical, and Pierce Brosnan was cast as Dr. Fate in ShazAdam or Black Adam or whatever it's going to be titled.

But to be perfectly honest... I really don't care. You see, they screwed up Shazam! so bad that I really don't have any interest in the sequel, and frankly, I don't even care about Dwayne Johnson's Black Adam anymore, even if it does introduce the Justice Society of America.  But truthfully, it's not really the legendary JSA. It's more like Dr. Fate, Hawkman, and a few 3rd tier Infinity Inc. characters.

If both movies end up premiering on HBO Max, like all of Warner's 2021 films, I'll probably give them a peek, but I'm not planning on going to a theater to see either of these movies.

I think what sums it up is what David Sandberg posted: "Though I can confirm with ~90% certainty that Shazam will appear in Shazam 2. So if you’re a fan of that character you might enjoy Shazam 2." That's just it.  I am not a fan of New52 Shazam.  I'm a fan of the Original Captain Marvel.  So I guess I'm just out of luck until the reboot happens, and hopefully is done right.

Review: The Three Stooges Thru the Ages

American Mythology's latest one-shot of the Three Stooges, subtitled Through the Ages, presents three different line ups of the boys.  The first story, by the regular team of S.A. Check and Brendon and Brian Fraim, feature Moe, Larry and Shemp causing chaos as Zoo workers. The creative team turns in a solid entry, with special note going to the Fraim Brothers stellar artwork. 

Next up is a story by Todd Clarke and Diego Tapie that has Moe, Larry and Curly in a sport fighting tale reminiscent of their shorts Punch Drunks and Grips, Grunt, and Groans. Clarke's script is fun, and Tapie's art is cartoon-inspired and top notch.  

The third story is by Jordan Gershowitz and Jorge Pacheco, and has Moe, Larry and Curly-Joe DeRita as movie actors in a situation similar to the DeRita era where the boys were making watered down feature films aimed at children. 

Unfortunately there was no story featuring Joe Besser, who was superior to the lackluster DeRita, nor was there a story with the comedic genius who essentially created the Stooges, Ted Healy. Perhaps a future one-shot will give some time to Healy and perhaps even Besser (but I wouldn't mind if we don't see DeRita anymore). 

The issue concludes with a check list of the past five years of Stooges comics, and a fun interview with Larry's great-grandsons and Curly's grandson. This issue is a good and fun read, and I look forward to the next one.

Sha Na Na

1950s Rock 'n Roll has always been my favorite type of music.  One of the most durable 1950s revival acts is Sha Na Na, who formed in the late 1960s, recorded several albums for Kama Sutra Records in the early to mid 1970s, then hit their height in popularity in the late 1970s and early 1980s after they were dropped by the record label, and signed on to do a weekly syndicated variety show, and appeared in the movie Grease.  I remember as a child, their TV series was must see TV.  While I was a big Elvis fan as far back as I can remember, and I was very aware of, and liked, Jerry Lee Lewis, Chuck Berry, Buddy Holly, Little Richard, and Bill Haley before I knew of Sha Na Na, it was thru their TV series I discovered doo-wop and many of the other 2nd and 3rd tier Rock 'n Roll songs and acts of the '50s. During the stay at home order, I rediscovered clips of the show on YouTube.  That led me down a rabbit hole to search out other live concert clips, and ultimately to buy BGO Records' 2014 remastered set of their original Kama Sutra albums.  Previous to this, I did own a CD greatest hits collection, Grease for Peace, and as a child, a vinyl record, The Best of Sha Na Na.  So, here are my brief thoughts and comments on the original albums.

Rock & Roll Is Here To Stay.  The group's debut album, from 1969.  For those most familiar with the classic line up from the TV series and Grease, this original line up is quite different with only Jocko Marcellino, Donny York, Denny Greene and Scott "Santini" Powell from the most popular line up present.  The album consists of well done covers of classic 1950s Rock 'n Roll tunes, mostly given a respectful treatment, although "Teen Angel" is clearly camped up for parody. Lots of energy and a spirit of fun to the tracks, with standouts being "Remember Then", "Come Go With Me", "Long Tall Sally" and "Heartbreak Hotel".  I can imagine in 1969, it may have been hard to collect the original versions of these songs...certainly much harder than it is today with the internet and mp3 files, so this record served a true public service purpose. Overall this album is a great tribute to first generation Rock 'n Roll, and a great debut album for Sha Na Na.

Sha Na Na.  The group's 1971 self-titled 2nd album is unique. Nearly half of the original members have left, and the classic line up is starting to take shape with Screamin' Scott Simon, Jon "Bowzer" Bowman, and Johnny "The Kid" Contardo coming in, plus Lennie Baker, who was the group's "ringer" having played with actual 1950s groups like Danny & The Juniors, albeit in the 1960s.  Side one is a live concert of Rock 'n Roll classics, which is really where Sha Na Na excelled as a live band.  Side two consists of studio cuts... not just studio cuts, but original material.  Unfortunately none of the cuts have any 1950s flavor, as I think the group may have been trying to expand their repertoire. All of the songs were written by Screamin' Scott, except for one by Jocko, and they all showcase a different genre. "Only One Song" is like a typical AM ballad from the 1970s. "Depression" is a hard rocker. "Canadian Money" is a Country twinged, humorous song about going to Canada to avoid the draft.   "Top Forty" is another Country style song critiquing top forty bands who live hedonist lifestyles.  "Ruin Me Blues" is a blues tune.  Jocko's "Just A Friend" is a mid-tempo pop tune.   These sides straddle a fine line between being straight forward and being subtle parodies.  Also around this time, the group recorded a non-album single, "Payday".  I wish BGO had included it as a bonus track on the reissue.  I heard it on YouTube, and let me say I love that song.  As far as Sha Na Na originals go, and there will be a lot more contrary to the group's image as strictly a cover band, "Payday" is in the top two or three.  Unlike the other originals on this album, it hits a perfect balance between a retro-1950s sound and a contemporary style.

The Night Is Still Young.  The 3rd album, from 1972, builds upon side 2 of their second album. Mostly originals, mostly contemporary (for 1972), mostly a mixed bag. This album was produced by Jeff Barry, with a lot of input from Andy Kim. The Barry-Kim duo was also primarily responsible for The Monkees' 9th album Changes from 1970... the one featuring only Micky and Davy, which is usually near the bottom of most Monkees fans' rankings. This record opens with another Screamin' Scott original "Sunday Morning Radio", which appears to question the sincerity of the then-current "Jesus Freak" movement.  Next up is the record's best track, a cover of the classic "Sea Cruise".  Up next are a couple of lackluster Barry-Kim originals, that quite possibly could have been left overs from their Monkees sessions.  Things pick up with Jocko's Rolling Stones inspired "It Ain't Love", followed by Screamin' Scott's "The Vote Song"...which would work very well today if you just substitute the word Nixon with Biden.  Original member Rich Joffe contributes the ballad "Sleepin' on a Song".  "Bless My Soul" and "So Fine" are a pair of good tracks, then it's Screamin' Scott's "Oh Lonesome Boy". At this point it seems as if Scott is to trying to be Sha Na Na's equivalent of Mike Nesmith.  The album concludes with another Barry original, a novelty track by Bowzer about "Glasses", and a cover of "In The Still of The Night".

 

The Golden Age of Rock 'n Roll. For their 4th album, from 1973, the group got back to what made them: 1950s music.  This became their best selling album, and it was a two record set.  Side 1, much like their debut album, was studio covers of classics, done very well.  Sides 2 thru 4 are a live concert, showcasing Sha Na Na at their best. It turns out, that first Sha Na Na record I owned as a kid, The Best of Sha Na Na, was an abridged 13 track version of the live concert sides, so I was quite familiar with this record without ever realizing it. To show what kind of impact this record had on me, every time I hear "Great Balls of Fire", whether its the Jerry Lee Lewis version or a cover, just before the instrumental break, in my mind I always hear "great balls of Vinnie Taylor".  I became a big fan of Dion DiMucci in part because of the cover of "Teenager in Love" on this album. Right up there with their debut album, this one is an essential classic.

From the Streets of New York. Their 5th album, from 1973, is unique. It consists of studio tracks covering more classic Rock 'n Roll songs, but intercut between each track is an excerpt from a live concert (perhaps left over from the recording of their previous concert album) where the group holds a dance contest with girls chosen from the audience paired up with Donny, Denny, and Santini, with Bowzer serving as the host.  This adds comedy to the album and make for a unique listen. In a way, this record is like a sneak preview of what their TV show will be like.  Speaking of which, this album includes the debut of David "Chico" Ryan on bass guitar, replacing Bruce "Bruno" Clarke. One negative for this record is it seems the mixing is weak (at least the BGO reissue that I have), with music tracks buried in the background, and vocals with a low-fidelity effect.  

Hot Sox. Their 6th album, from 1974, does what the single "Payday" did: strikes a perfect balance between a retro-1950s style and a contemporary sound. Hot Sox is arguably Sha Na Na's best album, at least in regards to original material. The album kicks off with "Maybe I'm Old Fashioned", which is right up there with "Payday" as one of Sha Na Na's best original songs. The album's title track "Hot Sox" is a great novelty number, written by Santini, with Bowzer on lead vocals. "Stroll All Night", "Too Chubby To Boogie", and "Dreams Come True" are the other original songs on the album, and all are great.  And as usual, they do a great job on the covers of classic songs. One tragic side note to this record is that it is lead guitarist Vinnie Taylor's final appearance, as he would tragically die after its completion. To replace him, "Dirty Dan" McBride was brought in, and the classic line up from the TV show era is complete.

Sha Na Now. Their final album on the Kama Sutra label repeats the formula from The Night Is Still Young. Mostly originals, mostly contemporary, which for 1975, is disco. Yes, Sha Na Now is a disco album.  Perhaps a better title would have been Sha Na Na Sell Out. This one was tough for me to get through. Without a doubt, their worst album. The best song on the album is the Jocko-penned "Chills In My Spine", which is the only track I would make an effort to listen to again.  No surprise, it sounds like it would have fit better on Hot Sox. The runner up for best song is "Party Lights", although it sounds derivative. "Basement Party", co-written by Chico, has potential, but is ruined by the disco backing track.  Likewise, I like the vocal arrangement for the cover of "Runaway", but the disco backing track ruins it. The cover of "Breaking Up Is Hard To Do" is all right, but frankly, the version by The Partridge Family from around the same time, is much better. I hope whatever record executive suggested they do a disco album was fired, after being tarred and feathered.

After this, they were dropped by Kama Sutra, but would soon have their own syndicated TV variety show, that would ensure their popularity among kids, while showcasing them at what they were best at: being a live band.  I sure wish a cable network like MeTV, FETV, UP TV, POP TV, or INSP would start airing reruns of Sha Na Na.